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United States Patent |
6,127,611
|
VansEvers
|
October 3, 2000
|
Apparatus and method of optimizing the tonal balance of instruments with
end-pins
Abstract
A multi-mode adjustable-tone and tone-adjusting end-pin holder and methods
for enhancing and optimizing the tonal balance and sonic quality of
end-pin equipped instruments are disclosed. The sympathetically resonating
holder is comprised of both wide band and narrow band resonators, fixed
and variable, and can be made from wood species not normally associated
with orchestral instruments. An acoustic instrument is mechanically
coupled via its end-pin to a base with selected resonant characteristics
upon which a plurality of resonators are located. These resonators are
adjusted and/or selected to make the musical instrument's tone more
aesthetically pleasing to the musician. The resonators are attached to the
base via means which allow the resonant properties of the resonators to be
varied as musical demands vary. The holder is provided with compliant feet
that anchor the instrument and decouple it from stage floors, as well as a
provision for optional bypassing of the decoupling action of the feet.
Inventors:
|
VansEvers; Claude M (5815 6th St., Tampa, FL 33611)
|
Appl. No.:
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427252 |
Filed:
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October 26, 1999 |
Current U.S. Class: |
84/294; 84/410; 84/453 |
Intern'l Class: |
G10D 003/02 |
Field of Search: |
84/294,410,453
|
References Cited
U.S. Patent Documents
4018129 | Apr., 1977 | Hollander | 84/294.
|
5920020 | Jul., 1999 | Korupp.
| |
5929353 | Jul., 1999 | Taninbaum.
| |
Other References
Fletcher, Neville H., and Rossing, Thomas D; The Physics of Musical
Instruments, Second Edition; 1998; Springer; Chapter 19.
Bucur, Voichita, Acoustics of Wood; 1995; CRC Press; Chapter 6, p. 119 &
120; Chapter 7, table 7.2.
|
Primary Examiner: Ip; Paul
Assistant Examiner: Hsieh; Shih-yung
Claims
What is claimed:
1. A wide band multi-mode adjustable-tonality end-pin holder with field
adjustable tonality for enhancing and optimizing the tonal balance and
sonic quality of instruments with end-pins, utilizing a plurality of wood
species including those not normally associated with orchestral
instruments, comprising:
(a) a solid, flat, triangular base provided with compliant feet serving not
only to anchor the instrument and decouple it from a stage floor, but also
to create a musically relevant resonance, surface and edge contours for
increasing the proportion of higher frequency resonances, and a horizontal
discontinuity at one end of said base fitted with an adjustable threaded
fastener for high-frequency tonality adjustment;
(b) a trapezoidal end-pin retainer with through-opening, edge contours, and
adjustable threaded fasteners including one extra long fastener for
converting the interface between said base and the stage floor from an
interface that decouples and attenuates the transfer of vibrations to an
interface that couples and promotes said vibrations, and one or more
trapezoidal gouge plates, and compliant washers between said end-pin
retainer and the upper gouge plate to create a variable bass
resonance/tonality the frequency of which is adjustable with said
fasteners;
(c) a plurality of bar resonators with varied lengths, shapes, and
materials, and adjustable threaded fasteners that allow said resonators to
resonate freely or be dampened against the base by tightening said
fastener.
2. A holder as set forth in claim 1, wherein said base and end-pin retainer
are wood, and said resonators and gouge plates are one or more of metal
and the rest of wood.
3. A holder as set forth in claim 2, wherein said wood resonators and gouge
plates are of a plurality of different wood species.
4. A holder as set forth in claim 3, wherein said end-pin retainer has
multiple through-openings for the creation of a plurality of end-pin rest
positions.
5. A holder as set forth in claim 4, wherein said gouge plates constitute a
pair of plates and are of different materials sonically, and where said
upper gouge plate has a through hole and said lower gouge plate has a
depression located under the through-hole in said upper gouge plate for
creating an additional and sonically different end-pin rest position where
said end-pin does not contact said upper gouge plate but does contact said
lower gouge plate.
6. A holder as set forth in claim 2, wherein said base has a non-triangular
shape that has voids or wood fibre discontinuities that causes
approximately the same distribution of short wood fibers to long wood
fibers as in said triangular base.
7. A holder as set forth in claim 6, wherein said wood resonators and gouge
plates are of different wood species.
8. A holder as set forth in claim 7, wherein said end-pin retainer has
multiple through-openings for the creation of a plurality of end-pin rest
positions.
9. A holder as set forth in claim 8, wherein said gouge plates constitute a
pair of plates and are of different materials sonically, and where said
upper gouge plate has a through hole and said lower gouge plate has an
indentation located under the through-hole in said upper gouge plate for
creating an additional and sonically different end-pin rest position where
said end-pin does not contact said upper gouge plate but does contact said
lower gouge plate.
10. A method of enhancing and optimizing the tonal qualities of instruments
with end-pins that doesn't require invasive procedures to the instrument
itself, by using a selectable combination of discrete resonators
comprising the steps of:
placing the instrument's end-pin into the end-pin retainer of a resonant
base structure having a plurality of resonators attached with adjustable
fasteners, playing and listening to the instrument, and;
tightening or loosening said adjustable fasteners, playing and listening to
the instrument again, repeating as necessary until the combination that
provides the most appropriate tonal balance for the musical situation at
hand is found.
11. A method as in claim 10, where multiple resonators of one shape,
length, or material are used to enhance and optimize desirable tonal
qualities.
12. A method of enhancing and optimizing the tonal qualities of instruments
with end-pins by using selectable end-pin rest positions, comprising the
steps of:
placing the instrument's end-pin into the end-pin retainer of a base
structure having a plurality of end-pin rest positions, into one of the
rest positions, playing and listening to the instrument, and;
moving the end-pin from position to position, playing and listening to the
instrument again, to find the most appropriate tonal balance for the
musical situation at hand.
13. A method of enhancing and optimizing the tonal qualities of instruments
with end-pins that doesn't require invasive procedures to the instrument
itself, by using adjustable compression fasteners and compliant materials
to form one or more variable frequency
resonators/energy-storage-mechanisms, comprising the steps of:
placing the instrument's end-pin into the end-pin retainer of a base
structure having a plurality of variable resonators, playing and listening
to the instrument, and;
tightening or loosening said fastener(s) associated with said variable
frequency resonator(s), playing and listening to the instrument again,
repeating as necessary until the most appropriate tonal balance for the
musical situation at hand is found.
14. A method as in claim 13, where said compliant material is a natural or
synthetic elastomer.
15. A method as in claim 13, where said compliant material is part of the
structure of said base.
16. A method of enhancing and optimizing the tonal qualities of instruments
with end-pins that doesn't require invasive procedures to the instrument
itself, by changing the position and number of compliant feet used with an
end-pin holder, comprising the steps of:
placing the instrument's end-pin into the end-pin retainer of a base
structure having a plurality of compliant feet, playing and listening to
the instrument, and;
changing the number and position of compliant feet, playing and listening
to the instrument again, repeating as necessary until the number and
position of compliant feet that provide the most appropriate tonal balance
for the musical instrument is found.
17. A method as in claim 16, where the durometer hardness of said compliant
feet is varied.
Description
BACKGROUND OF THE INVENTION
1. Field of the Invention
This invention relates to a resonant end-pin holder for musical instruments
with end-pins. More particularly, this invention relates to a multi-mode
adjustable-tonality end-pin holder and methods for enhancing and
optimizing the tonal balance and sonic quality of end-pin equipped
instruments.
2. Description of the Related Art
While hundreds of years have gone into the evolution of many instruments, a
large degree of variability of tone is still prevalent within types of
instruments. Some instruments will have a response that accentuates upper
harmonics while attenuating its lower octaves, while others will have a
response exactly opposite in those same frequencies. Most instruments will
have an uneven response where problems cover a smaller range of
frequencies. The smooth tonal balance found in the best instruments is
created by an even distribution of resonances, which has yet to be
reliably duplicated in modern instruments, even though great strides have
been made in the science of materials, and, for instance, the science of
violin building. The best instruments have an evenness of tone, and high
price, that separates them from lesser instruments and most musicians. And
while luthiers as a whole have many traditional and even some newer
techniques for building the new and modifying the old, there is still a
great disparity between the best and worst in terms of tonality.
To a musician, an instrument's tone is its most valuable feature, and great
tone is seemingly at times a happenstance and serendipitous result of an
assemblage of vibrating tubes, plates, membranes, strings and air
chambers. These vibrations that result from the playing of an instrument
travel freely throughout the instrument and thus naturally excite all of
its parts, and these parts contribute resonate energy which is conducted
through the body of the instrument to the radiating members. Every part of
the instrument thus contributes to its overall sound, even when that part
is not considered a sound radiator. In U.S. Pat. No. 5,929,353 a solid
resonator ring is shown which is to be affixed to the mouthpiece of a
saxophone or other reed instrument so that it is intimately in contact
with the body of the instrument. This resonator ring is not a primary
vibrator as are the reed and the air column of the instrument, and so must
act like a feedback device which influences the instrument's tonality by
adding its energy of resonance to the resonant energy of the vibrating
reed and air column.
In the same way, an instrument's end-pin is in intimate contact with the
body of the instrument and as such will contribute its resonant energy to
the instrument's sound. This is one reason for the current experimentation
with different and sometimes exotic materials used for end-pin
construction. Also in the same way, an end-pin is usually in intimate
contact with a stage floor, and an end-pin cannot be a one way street for
vibrations. The resonant properties of the particles which make up the
stage floor material upon which the end-pin sits, and is in intimate
contact with, contribute energy which must also be carried up and back
through the end-pin to become part of the energy radiated by the
instrument itself, which in turn often adversely affects the tonality of
the instrument. The end-pin of an instrument is thus more than just a prop
to keep it off of the floor. It is also a two way conduit for energy; the
stage floor and its resonant characteristics influence the sound of the
instruments that by necessity of size and weight require use of an
end-pin, such as but not limited to cellos, double basses, contrabassoons,
and bass clarinets and other instruments that sometimes use an end-pin,
such as bassoons and English horns. These instruments can have their
tonality and playability improved by mechanically coupling a complimentary
resonant body to the existing instrument. This complimentary resonant body
will have to add resonant energy to those areas that are deficient in
tonal strength while preserving the tonal balance of those areas already
in balance.
A recent resonating device for the enhancement of an instrument's tonality
is found in U.S. Pat. No. 5,920,020, where an air-chamber/enclosure large
enough to provide seating for musician and instrument is excited by
vibrations via the end-pin. In its background, the point is made that
while some stage floors have sonic qualities that are musically relevant,
most modern stage floors do not posses these qualities. Its design goal is
to emulate the resonant qualities of a musical sounding stage floor. It
resonates and enhances an instrument's lower registers, so as to achieve
parity with the instrument's upper registers. It is a fixed-tonality
device that for best effect should be matched to the particular instrument
used with it. The size will restrict its use primarily for soloists
because of space considerations, and unless carefully matched to its
intended instrument, its inherent sonic bias in favor of lower tones could
cause some dark sounding instruments to sound even further out of balance.
In U.S. Pat. No. 4,018,129 a resonating end-pin holder is designed to
anchor and resonate sympathetically with the stringed instrument used with
it, making the instrument louder. Its design emulates that of a stringed
instrument with top and bottom resonating plates coupled together with a
soundpost, with and without sides/air-chamber. It is also a fixed-tonality
design whose construction was considered to be not as important as that of
the instrument used with it. However, for it to be a truly complimentary
resonant body, and thus more than just a volume control, it should be
constructed and matched with the instrument used with it by a master
craftsman, a time consuming and expensive process. When used with an
instrument not matched with it, its fixed tonality could amplify and
exacerbate tonal imbalances present in that particular instrument. As a
major part of the design, compliant rubber feet are placed on the bottom
plate to prevent slippage and to decouple the instrument from the floor.
These feet will isolate and decouple the instrument from those stage
floors which are musically resonant and thus can actually reduce the
quality of sound that could be realized.
Traditional methods of making improvements to an instrument's tonality
often require the replacement of parts and/or the disassembly or
refinishing of the instrument. In the first case, owners of collectible
instruments will usually not be eager to reduce the value of their
instruments, especially since improved tonality cannot be guaranteed, and
some parts like bows have become a realm of the collector where prices
have become stratospheric. In the second, there is always a physical risk
to the instrument involved when disassembly is required, and most
traditional methods require steps that once taken, rarely if ever can be
retraced to return the instrument to its previous sonics. In either case
there is often an appreciable amount of time between the perception of the
problem and its resolution. When disassembly is necessary, this period
will often include months without the instrument.
For maximum effectiveness, a complementary resonant body will have to be
either fabricated for one instrument only, and possibly for use during
only one portion of the year as temperature and humidity changes will also
change the tonality of that instrument, or its sonic attributes will have
to be able to change along with the demands of the musical situation at
hand. While resonant end-pin holders are known from the previous art,
their tonalities are fixed at the point of construction. A field
adjustable multi-mode tone-balancing end-pin holder with tonal
characteristics that can be quickly adjusted by the musician and one that
can be fine tuned for wide band and/or narrow band tonality problems in
any part of that instrument's frequency range has no previous art. The
need for a complementary resonant body with easily adjustable tonality is
realized by the present invention
SUMMARY OF INVENTION
Accordingly, it is the object of the present invention to provide a
multi-mode adjustable-tonality end-pin holder that avoids the
disadvantages of the prior art.
More particularly, it is an object of the present invention to provide an
easily portable multi-mode adjustable-tonality end-pin holder that can
adapt to changing conditions, musical demands, and different instruments,
quickly and easily even in the field. The present invention is sonically
adaptable by acoustical-mechanical means to a degree previously restricted
to the case of electronic audio equalizers, and can be configured to fully
optimize the tonal qualities of an instrument. When a multi-mode
adjustable-tonality end-pin holder is designed in accordance with the
present invention, a musician will have a more balanced and thus a more
beautiful tone that can be maintained under changing conditions which will
help the musician to play all notes with less effort as well as to help
correct those notes which were previously poor sounding and less dynamic,
and additionally, a musician will have a means for matching the sound of
the instrument to the type of music and size and tonality of the ensemble.
The vibrational energy from the instrument which is transmitted through the
end-pin energizes the materials of the present invention whose individual
resonances sum together and add to the energy of the instrument which is
radiated by the present invention. In addition, some of the resonant
energy of the present invention will also be conducted back up through the
end-pin to be radiated by the instrument itself.
The acoustic signature of the present invention is determined by the shape
and material of the base, the shape and material of the plurality of
resonators that are fastened to the base, and the surface contours
inscribed into the base. The signature is also determined by the tightness
or looseness of the fasteners connecting the resonators to the base, the
degree of tightness of the high-frequency-tonality-adjust fastener, and
the placement of the end-pin in the retainer. In addition, the signature
is also determined by the number, position and durometer hardness of the
feet, and the optional use of the long retainer fastener to defeat the
action of the decoupling feet in order to couple the instrument's
vibrations to the stage floor in the case of a stage floor that has
musically positive resonant qualities.
One feature of the present invention concerns the shape of the base. This
triangular shape in conjunction with the anisotropic nature of wood
reduces the partitioning of resonances normally found in rectangular
shapes. The resulting distributed, wide band resonant contribution
provides increased volume and projection of sound.
Another feature of the present invention is the end-pin restraint
sub-assembly which is made up of a restraint and one or more gouge plates
with appropriate fasteners. The restraint has a reasonable height to
facilitate ease of use, and one or more center through-holes for
acceptance of the end-pin. Multiple through-holes create multiple end-pin
rest positions, where each position provides a different sonic character.
The gouge plates having minimal height and no center through-hole except
in the case of multiple end-pin rest positions. Multiple through-holes and
multiple end-pin rest positions providing increased flexibility and
quickness of tonal adjustments. Another tuneable aspect is provided by
compliant washers between the retainer and the upper gouge plate. These
washers provide energy storage and create a bass resonance. By adjusting
the retainer's fasteners this resonance can be aligned for optimum tonal
enhancement.
Still another feature of the present invention is the high-frequency
resonance/tonality adjustment located at the narrow end of the base. The
stress created by tightening the fastener raises the frequency of the
resonant properties of the material and allows a musician to quickly
adjust the area of high-frequency contribution, which is useful for
tailoring the tonality of the present invention to the musical situation
at hand.
Yet another feature of the present invention is the plurality of bar
resonators which are fastened to the base and which act as narrow-band
resonators. The length of these resonators varies so as to create wideband
multi-mode tonal enhancement. Multiples of one type or length resonator
can be used to increase positive effects, and shapes and surface contours
can be varied to increase or decrease the tonal specificity of the
resonator.
Another feature of the present invention is that the plurality of
resonators can be individually compressed and dampened against the base by
means of a plurality of threaded fasteners. Each resonator's sonic
contribution can be lessened or increased by tightening or loosening its
fastener, respectively, giving the musician another method of easily and
quickly making tonal balance changes.
A significant feature of the present invention is the ability to use wood
species other than "resonance woods" such as indented spruce and curly
maple which are in ever increasingly short supply.
Other objects and advantages of the present invention will become apparent
from the following descriptions, taken in connection with the accompanying
drawings, wherein, by way of illustration and example, two embodiments of
the present invention are disclosed.
BRIEF DESCRIPTION OF THE DRAWING
FIG. 1 is an isometric view of the multi-mode adjustable-tonality end-pin
holder which embodies the principles of the present invention. For
clarity, a single gouge plate is shown, and edge contours are not shown.
FIG. 2 is a side cross sectional view taken through the center of the
multi-mode adjustable-tonality end-pin holder shown in FIG. 1.
FIG. 3 is an underside isometric detail view of the surface contours.
FIG. 4 is an isometric view of some alternative resonator shapes.
FIG. 5 is a plan view detail of a second embodiment of the
retainer/gouge-plate portion of a holder in accordance with the invention
showing multiple end-pin rest positions.
DETAILED DESCRIPTION OF THE PREFERRED EMBODIMENTS
Detailed descriptions of the preferred embodiment are provided herein. It
is to be understood, however, that the present invention may be embodied
in various forms. Therefore, specific details disclosed herein are not to
be interpreted as limiting, but rather as a basis for the claims and as a
representative basis for teaching one skilled in the art to employ the
present invention in virtually any appropriately detailed system,
structure or manner.
Referring now to FIG. 1 of the multi-mode adjustable-tonality end-pin
holder of the present invention with tonality adjustable "in the field," a
solid triangular base 10 is shown, a horizontal discontinuity 13, a
high-frequency tonality adjustment fastener 14, a plurality of top mounted
resonators 15 including an end-pin retainer 16 and gouge plates 17 and 18,
a plurality of resonator fasteners 19, retainer fasteners 20, an extra
long retainer fastener 21, a plurality of compliant feet 22, a plurality
of compliant washers 23, a cello 32, and end-pin 33.
The base 10 is of a size to allow it to carry a sufficient number of
resonators 15 for effective tonal supplementation and equalization while
not being so large as to cause a musician to make multiple trips for
set-up, or require more space than is normal in orchestral section
settings. The base 10 of the preferred embodiments is a flat, solid wooden
plate with nominal dimensions of sixteen inches in length, eleven inches
in width, and three quarters of an inch in thickness, and of itself has
specific resonant/tonal characteristics. Wood is a non-homogenous,
anisotropic material, and sound travels easiest and with the highest
velocity along the direction of the continuous internal structure of wood
called the wood fibre. The triangular shape causes the lengths of the
internal wood fiber structure to vary smoothly from a very short length to
a much longer length. This internal structure of wood is in the form of
cross-linked rectangular "tubes" imbedded in an amorphous lignin matrix,
and cutting at an angle across the fibers causes a wide range of different
length tubular pathways for longitudinal vibrations which in turn creates
a wide band, sympathetic resonating system which emphasizes all of an
instruments notes equally. This distributed resonance system also
increases an instrument's volume and projection by increasing its
radiating surface area. A similar sized rectangular base would have all
"tubes" of the same length and resonant frequency, and would therefore
form a narrow band resonator which would emphasize a much smaller group of
notes, having specific resonance modes and harmonics. In practice, other
non-triangular shapes or rectangular shapes with non-rectangular voids or
discontinuities having a similar distribution of wood fiber lengths as a
triangle, will also serve to distribute the resonant frequencies of the
longitudinal vibrations in the desired manner. While common red oak is the
material of choice of the preferred embodiment of the adjustable-tonality
end-pin holder of the present invention, other species of wood will be
acceptable, including other wood species not normally associated with
orchestral instruments, depending on the tonal balance desired. While a
nominal size for the base 10 seen in FIGS. 1 and 2 has been given, these
dimensions are arbitrary and can be made larger or smaller as requirements
change. It being understood that larger sizes soon become unwieldy and
less than easily portable, and smaller sizes soon become too small to be
effective except in very specialized cases.
The edge contours 11 seen in FIG. 2 create small cross sectional areas of
wood with smaller dimensions which will have resonant properties of higher
pitch than the main portion of the base 10. FIG. 3 of the present
invention shows another type of contour, the surface contour 12 which in
this case is a series of stepped counterbores which shorten some wood
grain lengths, increasing the number of shorter wood grain lengths, and
thereby the proportion of higher frequency longitudinal resonances in the
base 10. By way of creating surface and edge contours, the tonality of
resonant members such as the base 10 can be tailored to the desired
effect, increasing the choices of appropriate wood for use in the present
invention.
In accordance with an important feature of the present invention, there is
shown in shown in FIGS. 1 and 2, a high-frequency resonance/tonality
adjustment 14 formed by way of a horizontal discontinuity 13, which is
created parallel to the top and bottom surfaces at the narrow end of the
base 10. The two horizontal plates thus created deform, and each bends
towards the middle when the fastener 14 placed close to the tip is
tightened. The induced stress raises the frequency of the resonant
properties of the deformed material, and increased tightening of the
fastener 14 induces more stress which increases the pitch of the high
frequency contribution of this stressed portion of the base 10. A musical
saw has its pitch changed in the same fundamental fashion. This adjustment
allows a musician to quickly adjust this contributor of high-frequency
enhancement of the present invention, which is useful for tailoring the
sound of the present invention to the music being played: some music will
benefit from the higher material stress level from tightening the fastener
14 thus creating a note with more upper partials, while other music will
benefit from the softer attack created by a looser setting of the fastener
14. Similarly, some instruments will benefit from a brighter tonal balance
while others will not. This is a feature not found in other end-pin
holders.
The plurality of discrete resonators 15, shown in FIGS. 1 and 2, act as a
multi-mode narrow band bar resonator system. Their lengths are varied in
such a way as to distribute the fundamental frequencies of the bars'
transverse resonances so that they extend evenly through out the frequency
range of the instruments used with the present invention. The species of
the wooden resonators 15 are also varied so as to increase the possible
tonal combinations. Because of the simple design of the resonators 15,
selection of appropriate wood types for the present invention is much
broader than when a wood type simultaneously has to resonate in a very
specific manner, have shape restrictions, and fulfil structural functions
as is the wood used for instance in cellos and basses. Types of wood that
have been found to create useful resonators 15 of the present invention,
include woods like Pernambuco and Ebony which are historically and
currently being used in musical instrument construction, but also wood
types that have not been sonically favorable such as Cocobolo, oak,
Bloodwood, Zebrawood, and hickory. These and other woods can be very
beautiful visually as well as sonically in the present application, and
not only increase the aesthetics of the present invention but also allow
use of wood types that are not in such critical short supply as are many
of the specific woods used in string and woodwind instrument manufacture.
In practice, metals such as brass, copper, and aluminum, and other
materials can also be used as resonators, but should be used sparingly
because the majority component of an instrument's construction is wood and
balance must be maintained when coupling resonant materials to an
instrument.
For optimum tonal compensation of an instrument, use of multiple resonators
15 of the same size or material, or use of resonators whose resonant
specificity has been altered may be necessary. Examples seen in FIG. 4
include a wide band resonator 24 where the ends are beveled so as to
create a diversity of wood fiber lengths and resonant frequencies, and a
specially tuned resonator 25, where it has received marimba-key type
contouring, in order to control its harmonics.
The exact sizes of the resonators 15, 24, and 25 seen in FIGS. 1, 2, 3, and
4 are not definable, in that wood is well known to be a material of
varying characteristics and even same species wood from two different
trees can vary enough sonically to make prediction a guessing game.
The plurality of resonator fasteners 19 shown in FIGS. 1 and 2, allow each
resonator 15 to lie loosely against the base or to be individually
compressed and dampened with varying degrees of force against the base 10
by means of threaded fasteners 19. These fasteners are to be understood to
consist of a pair of male and female threaded entities, one of which will
be fixed and the other moveable. Each resonator's tonal contribution can
be lessened or increased by tightening or loosening its fastener 19,
respectively; loosened resonators 15 being able to resonate freely, and
tightened resonators 15 having been dampened against the surface of the
base 10. As each resonator's tonal contribution is in a distinct and
separate area of the spectrum, great flexibility is afforded to the
musician on an as needed basis. There is no waiting period associated with
making an improvement to the tonal balance of the instrument when it is
used with the present invention. This adaptability of tonal balance also
allows the present invention to be easily reconfigured with a different
combination of tightened or loosened fasteners 19 for use with another
instrument or style of music. The proper combination of fastened and
loosened resonators 15 will be determined by repeated trials of playing
the instrument with the present invention in place, and listening as the
resonators dampening is varied. The resonators 15 are first listened to
all fastened tightly to the base 10, and then one at a time listened to in
a loosened state in order to hear where each resonator is affecting the
tone of the instrument, and then tried in combination until a preferred
combination is reached. When a higher level of tone balancing is required,
the preceding steps are first taken, then one at a time, tightened
resonators 15 are removed and clones of the loosened resonators 15 are
substituted. The point of this part of the method is to strengthen those
qualities already found desirable. When removing a tightened resonator 15
results in a lessor quality tonality, a same length resonator of a
different species of wood or one having a different resonant character as
in resonators 23 and 24 can be substituted. The point of this part of the
method is to find the objectionable component of the resonant
characteristics of the tightened resonator 15 and eliminate it.
This then, is an important benefit from having non-permanently fastened
resonators 15 of the present invention in that as conditions or musical
demands change, different resonators can be easily and quickly
substituted. This can reduce the number of instruments needed for use with
different styles of music, and thus can be very cost effective in terms of
time, money, and effort expended in locating more than one suitable
instrument. Conversely, this versatility will enhance the present
invention's ability to enhance and optimize the tonality of more than one
instrument.
The end-pin retainer 16 of FIGS. 1 and 2 provides the necessary function of
restricting the movement of, and providing a placement guide for an
end-pin 33. The retainer 16 is held in place with three standard fasteners
20 and one of extra length 21. The combination of the shape of the wooden
end-pin retainer 16 which is trapezoidal, and the size of the
through-opening 30 which accepts the end-pin 33, varies the lengths of the
wood fibers creating another wide band resonator. Edge contours 11 shown
in FIGS. 2 and 3, further diversify the resonant characteristics of the
restraint 16 in the same way as the edge contours 11 of the base 10.
Compliant washers 23 between the retainer 16 and the upper gouge plate 17
form an energy storage mechanism which changes frequency as the retainer
fasteners 20 and 21 are tightened or loosened. This forms a resonance and
tonal adjustment mechanism that operates in the bass frequencies which is
variable and easily readjusted in the field to reinforce that area of the
bass which will suit the needs of the musician and the instrument. When
the stage floor is musically resonant in a supportive fashion, and the
decoupling action of the compliant feet is tonally a disadvantage, the
extra length retainer fastener 21 of the present invention can be extended
to firmly contact the surface of the stage floor, mechanically coupling
the adjustable-tonality end-pin holder of the present invention to the
stage floor, resulting in improved sonics. Other end-pin holders lack this
feature.
The trapezoidal gouge plates 17 and 18 are situated between the retainer 16
and the base 10. The primary function is to provide a renewable surface
for wear and tear inflicted by the end-pin 33. The secondary effect is to
create another resonant body. A thin plate of aluminum is the preferred
material for the upper gouge plate 17 but softer materials that have been
found acceptable include Pequia Amarello and Zebrawood. The lower gouge
plate 18 is preferably red oak one quarter of an inch in thickness having
a long dimension of five inches and the dimension at right angle a length
of three and a half inches. The wood fiber orientation of the preferred
embodiment of the present invention is parallel to that of the base 10
which is in the direction of its long axis. For optimum tonal balancing,
the dimensions and wood fiber orientation can be varied to compliment the
sound of the instrument or instruments used with the present invention.
The plurality of compliant feet 22 comprise the decoupling interface
between the base 10 and the stage floor, attenuating higher frequency
vibrations traveling in either direction, and also provide a high
coefficient of friction between the base 10 and the stage floor, serving
to anchor the instrument. The total compliance, or springiness, of this
isolating interface formed by the plurality of compliant feet 22 is a
function of the number and durometer hardness of the feet. The compliance
of the feet together with the mass of the instrument form another energy
storage mechanism, or resonance. This particular energy storage mechanism
results in a bass resonance and the number, placement, and durometer
hardness of the feet determine its musical relevance; reinforcement in
some areas of the bass will enhance the sound of the instrument more than
others. The position of the three pairs of compliant feet 22 along the
long axis of the base 10 as shown in FIG. 2 have proven to be the
preferred number and have the preferred position. As the mass of the
instrument used with the adjustable-resonance end-pin holder of the
present invention varies, in cases where a specific tonality emphasis is
required, the exact number, type and composition of the elastomer,
durometer hardness, and position of the compliant feet 22 will be
determined by repeated trials of playing the instrument with the present
invention in place, and listening to the results as the characteristics of
the feet and their placement are varied.
Referring now to FIG. 5 of the multi-mode adjustable-tonality end-pin
holder of the present invention, an alternative embodiment is shown with a
plurality of rest positions 26, 27A/27B, and 28, formed by adding a second
through-opening 29 to the original through-opening 30 in retainer 16, and
by adding through-opening 31 in gouge plate 17 and an indentation in gouge
plate 18, which forms rest position 28.
In the embodiment shown in FIG. 5, provisions are made for quicker tonal
changes than can be made by bending down and re-tensioning the fasteners
19 in order to change the resonant condition of the resonators 15. The
retainer 16 has two overlapping through-openings 29 and 30 for insertion
of the end-pin 33. The two openings create two different rest position
areas 24 and 27A/27B on the upper gouge plate 17 where the end-pin 33 will
naturally come to rest during a performance. The vibrations from the
end-pin 33 enter the base 10 in one of these two areas 26 and 27A/27B,
each area having its own characteristic driving point impedance and
correspondingly each placement exciting a different group of flexural
resonance modes in the base 10 when the end-pin 33 is placed in that rest
position area of the present invention.
Two gouge plates are shown in FIGS. 2 and 5, where 17 is the upper plate
and 18 is the lower plate. Referring now to FIG. 5, a through-opening 31
is placed in the upper gouge plate 17 of a size to provide clearance so
that the end-pin 33 will not contact the material of the upper gouge plate
17 when the end-pin 34 occupies rest position 28, which is formed by a
small indentation in the lower gouge plate 18 located under the
through-opening 31 in the upper gouge plate 17. The upper gouge plate 17
is preferably aluminum or another bright sounding material, and the lower
gouge plate 18 is preferably a soft sounding material such as the wood
Padouk. When the end-pin 33 is placed in rest position 26 or 27, the
vibrations from and to the instrument must pass through both gouge plate
materials, and when the end-pin 33 is placed in rest position 28 the
vibrations pass through only a single material. This results in a distinct
tonal difference between energizing the present invention from end-pin 33
contact from anywhere on the upper gouge plate 17 including rest positions
26 and 27A/27B, from that which occurs when the end-pin 33 energizes the
present invention from contact with the lower gouge plate 18 rest position
28. The mechanisms which cause the tonal differences include a driving
point impedance change, and of equal importance, a difference in the
absorption and transmission characteristics of the materials from which
the gouge plates 17 and 18 are constructed. The crystalline structure of
metal and the fibrous structure of wood have very different wave
propagation parameters.
The advantage of the resulting dynamic and tonal contrasts from multiple
end-pin rest positions lies in the quickness at which they can be changed
during a performance. This is a technique and method unique to the present
invention.
The tonal versatility of the present invention in the preferred embodiment
shown in FIGS. 1 and 2 is sufficient to allow it to be manufactured as a
single generic model suitable for improving the tonal balance and thus
enhancing the tonal quality of different kinds of instruments with
end-pins, with the added benefit of a lower cost than if each unit had to
customized for use with only one instrument or one type of instrument. The
same versatility will also allow the present invention, by way of
customizing the selection of resonators with multiples of one shape, size,
and/or wood type, to go beyond mere enhancement and allow the tonal
balance of an instrument to be optimized for a specific sonic character,
such as that found in instruments from a particular country and from a
particular time period. This is also unique to the present invention.
Traditionally, major tonality changes to an instrument are accomplished
with invasive procedures which often require disassembly of an instrument,
or other techniques which once completed are irreversible. The ability to
fine tune the appropriate amount of tonal compensation for the musical
situation at hand, at home or in the field, and to make changes that if
unsuccessful can be quickly reversed, is again unique to the present
invention.
Without further explanation, the present invention is thought to be
sufficiently well described and illustrated that persons skilled in the
art to which the invention relates will be able to modify it and depart
from the preferred embodiments for various applications without omitting
features that, from the standpoint of the prior art, lie within the field
and the spirit of this invention.
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